Quelltext der Seite Benutzer:ManuBu/C-Pop

{{Importartikel}}

{{distinguish|Country pop|Cowboy pop}}
{{Redirect|CPOP|the policing organization|Center for Problem-Oriented Policing|the gallery|C-Pop (gallery)}}
[[File:LiJinhui.jpg|thumb|[[Li Jinhui]], the father of Chinese pop]]
'''C-pop''' ist die Abkürzung für '''Chinese popular music''' ({{zh|t=[[wikt:漢語|漢語]][[wikt:流行|流行]][[wikt:音樂|音樂]]|s=[[wikt:汉语|汉语]][[wikt:流行|流行]][[wikt:音乐|音乐]]|p=hànyǔ liúxíng yīnyuè|j=hon3jyu5 lau4hang4 jam1ngok6}}), ein lose definiertes Musikgenre von Künstlern mit Ursprung in [[China]]. Manche Künstler kommen aus Regionen in denen die [[Chinesische Sprache|chinesische Sprache]] von der Mehrheit der Bevölkerung gesprochen wird, wie es in [[Taiwan]], [[Singapur]] und [[Malaysia]] der Fall ist. C-Pop wird manchmal auch als Oberbegriff für [[Rhythm and Blues|R&B]], [[Ballade]]n [[Rockmusik in China|chinesischen Rock]], [[Chinesischer Hip-Hop|chinesischen Hip-Hop]] und [[C-Ambient]] benutzt, wenn auch der chinesische Rock sich in den 1990er Jahren zunehmend vom C-Pop entfernte.

Momentan gibt im C-Pop es drei Haupt-Subgenres: [[Cantopop]], [[Mandopop]] und [[Hokkien-Pop]]. Die Unterschiede zwischen Cantopop und Mandopop haben sich seit den Jahrtausendwende zunehmend verringert. Der Hokkien-Pop war anfangs stark durch das japanische [[Enka]] beeinflusst, hat sich jedoch immer mehr in den C-Pop reintegriert und die Entwicklung in Richtung des Mandopops verringert.

Chinesische Popmusik war anfangs ein Vehikel für die [[Kulturrevolution]] und [[Maoismus|maoistische Ideologien]]. Während der weitreichenden politischen und kulturellen Veränderungen der vergangenen 50 Jahre verlor sie jedoch zunehmend an politischer Relevanz und ähnelt nun dem Stil des koreanischen [[K-Pop]] und des japanischen [[J-Pop]].

== Geschichte ==
[[File:BuckClayton.jpg|thumb|upright|[[Buck Clayton]], the American who helped bring Jazz influence to Shanghai.]]
{{For| individual popstars and music era coverage|Cantopop|Mandopop}}
The term ''[[shidaiqu]]'' (meaning "music of the era" or ''"popular music"'') is used to describe all different types of music sung in Mandarin and other Chinese dialects recorded in China From 1920 to 1952, then in Hong Kong until the 1960s. [[Shanghai]] was the main hub of the Chinese popular music recording industry, and an important name of the period is composer [[Li Jinhui]]. [[Buck Clayton]] is credited with bringing American [[jazz]] influence to China and the music gained popularity in hangout quarters of nightclubs and dancehalls of major cities in the 1920s.  A number of privately run radio stations from the late 1920s to the 1950s played C-pop.<ref name="Miller">[[Toby Miller|Miller, Toby]] (2003). ''Television: Critical Concepts in Media and Cultural Studies''. Routledge Publishing. {{ISBN|0-415-25502-3}}</ref> Around 1927, Li Jinhui composed "The Drizzle" ("{{lang|zh|毛毛雨}}") sung by his daughter Li Minghui ({{Zh|c=黎明暉|s=|t=|p=|labels=no}}), and this song is generally regarded as the first Chinese pop song.<ref>{{cite book |url=https://books.google.com/books?id=LTr9AAAAQBAJ&pg=PA60 |title=Hong Kong Mobile: Making a Global Population |editor= Helen F. Siu |editor2=Agnes S. Ku |author=May Bo Ching |page=60 |publisher=Hong Kong University Press |year= 2009 |isbn=978-9622099180 }}</ref><ref>{{cite web |title="SHANGHAI IN THE 1930S"- Legendary Women |url=http://www.vantage-magazine.com/vantage-point-articles/shanghai-in-the-1930s-legendary-women.html |work=Vantage Shanghai |date=11 July 2013 |access-date=2016-05-04 |archive-url=https://web.archive.org/web/20150206160212/http://www.vantage-magazine.com/vantage-point-articles/shanghai-in-the-1930s-legendary-women.html |archive-date=2015-02-06 |url-status=dead |df= }}</ref><ref>{{cite web |url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.225968&catNum=225968&filetype=About%20this%20Recording&language=English |title= FROM SHANGHAI WITH LOVE |work=Naxos }}</ref> It fuses [[jazz]] and [[Chinese folk music]] – the tune is in the style of a traditional [[pentatonic]] folk melody, but the instrumentation is similar to that of an American [[jazz orchestra]].<ref>{{cite web |url=http://orias.berkeley.edu/2006/Jones.pdf |author=Andrew F. Jones |title=ORIAS: Sonic Histories: Chinese Popular Music in the Twentieth Century |url-status=dead |archiveurl=https://web.archive.org/web/20131029211312/http://orias.berkeley.edu/2006/Jones.pdf |archivedate=2013-10-29 |df= }}</ref>

Around the time of the [[Japanese invasion of Manchuria]], and the [[Chinese Civil War]], pop music was seen as a [[leftist]]undisturbed distraction.  After the [[Second Sino-Japanese War]] and [[World War II]] C-pop has been marketed, produced and branded regionally. The [[Communist Party of China]] established the [[People's Republic of China]] in 1949.  One of its first actions was to label the genre "[[Yellow Music]]" (the color is associated with [[pornography]]). The Shanghai pop music industry then took pop music to Hong Kong and in the 1970s developed [[cantopop]]. The [[Kuomintang]], relocated to [[Taiwan]], [[Taiwanese Minnan#Politics|discouraged]] the use of native [[Taiwanese Hokkien]] dialect from the 1950s to the late 1980s. As a result, [[mandopop]] became the dominant musical genre in Taiwan.

In 2000 [https://web.archive.org/web/20080320034021/http://www.eolasia.com/ EolAsia.com] was founded as the first online C-pop music portal in Hong Kong. The company survived the [[dot-com bubble]] and offered online legal music downloads in February 2005, backed by [[EMI]], [[Warner Music]] and [[Sony BMG]].<ref>Entertainment News Wire. "[http://www.allbusiness.com/services/amusement-recreation-services/4713603-1.html ENW at allbusiness.com]." ''Download store to debut in Hong Kong.'' Retrieved on 2008-03-18.</ref>  It primarily targets consumers in Hong Kong and [[Macau]]: some songs require [[Hong Kong Identity Cards]] to purchase.

In August 2008 Norman Cheung, father of HK singer [[Ronald Cheng]], acquired the remaining portion of [[EMI]] Music Asia when EMI, which had entered China in the early 20th century, withdrew from the Chinese market. Typhoon music made the purchase for an estimated [[HK$]]100 million.<ref>English.cri.com. "[http://english.cri.cn/3086/2008/08/04/1261s389400.htm English.cri.com]." ''EMI Withdraws from China, Following HK Acquisition.'' Retrieved on 2008-09-08.</ref><ref>Varietyasiaonline.com. "[http://www.varietyasiaonline.com/content/view/6645/ Varietyasiaonline.com] {{webarchive|url=https://web.archive.org/web/20081016043535/http://varietyasiaonline.com/content/view/6645/ |date=2008-10-16 }}." ''EMI selling China business.'' Retrieved on 2008-09-08.</ref>

In February 2008 [[mainland China]]'s top search engine [[Baidu.com]] was sued by local industry groups for providing music listening, broadcasting and downloading without approval.<ref>NBC News. "[http://www.nbcnews.com/id/23406659 NBC News]." ''China's top search engine accused of aiding illicit online copying.'' Retrieved on 2008-03-19.</ref> [[Piracy]] continues to exist in China<ref name="CBM">China Briefing Media. [2004] (2004) Business Guide to the Greater Pearl River Delta. China Briefing Media Ltd. {{ISBN|988-98673-1-1}}</ref> but [[Google]] have since announced a cooperation deal offering free listening and genuine music copies. Top100.cn was founded by basketball star [[Yao Ming]], agent Zhang Mingji and music insider Chen Ge via a 20 million [[Chinese yuan|yuan]] investment.<ref>China.org. "[http://www.china.org.cn/english/business/242704.htm China.org]." ''Google embarks on free music downloading.'' Retrieved on 2008-03-19.</ref>  [https://web.archive.org/web/20090503144539/http://www.google.cn/music/homepage Google mp3] became available in March 2009.<ref>PCworld.com. "[http://www.pcworld.com/article/149469/google_to_launch_free_music_service_in_china.html PCworld.com]." ''Google to Launch Free Music Service in China.'' Retrieved on 2009-05-03.</ref> The future of C-pop in mainland China is slowly emerging. However, the [[Government of the People's Republic of China|Chinese government]]'s banning of the highly popular show ''[[Super Girl (TV series)|Super Girl]]'' for one year in 2008 and 2012 still a very controversial for the mainland China market.<ref>hk-dk.dk. "[http://www.hk-dk.dk/docs/chinainvest.2006.05.30.doc www.hk-dk.dk] {{webarchive|url=https://web.archive.org/web/20080527225246/http://www.hk-dk.dk/docs/chinainvest.2006.05.30.doc |date=2008-05-27 }}." ''Foreign Influence in TV & Film.'' Retrieved on 2008-03-30.</ref>

In the early years of modern mainland China, emphasis on collectivist and party values, would predominantly set the theme for the music that was produced. Chinese officially sanctioned music schools, teaching popular music usually involves praising China's national culture through song lyrics that echo the official orientation of the PRC. The way in which popular music is taught in the school system relates to Chinese patriotic verses and traditional Chinese culture. The educational policy is heavily influenced by the government, and the "... Chinese government still uses traditional Chinese culture and values to enhance its legitimacy and consolidate its authority"<ref>{{Cite journal|url = |title = Music education curriculum and social change: a study of popular music in secondary schools in Beijing, China.|last = Ho|first = W|date = 2014|journal = Music Education Research|doi = |pmid = |access-date = }}</ref> (Ho, 2012, p1).

After the [[Cultural Revolution]] that isolated China from the rest of the world for more than a decade, the country opened up, especially under the leadership of premier Deng.  Global economic development offered all sorts of opportunities for Chinese businessmen and the opening up of east coast regions to outside economic interests served to boost significantly cross-cultural exchange between China and other nations, including the United States. Globalization and China's joining the World Trade Organization, with the implication of a move to make institutions within the country more compatible with those of the rest of the world, and the surge in international trade all contributed to bringing not only increased economic activity but also social exposure to foreign cultural standards.  Although the new openness affected relations with a broad range of foreign countries, the United States was especially important as it was a major trading partner, and globalization has helped both nations to develop a healthy relationship for future growth.

The openness to trade and other exchanges with the United States, including the growing number of Chinese students seeking admission to educational establishments in the US, facilitated familiarity with [[American popular music]]. Although this was not the first exposure to foreign music for China, as there had been a growing awareness of the unique brand of western influenced popular music in Hong Kong, known as Cantopop, the influences of [[American rock]], and African American rebellious [[hip hop]] and rap music were undoubtedly a lot more accepted by Chinese youth compared to their parent's generation. Nowadays mainland singers like Hua Chenyu, one of the most influential young pop-rock singers in China today, sold out an Olympic sized stadium concert in two minutes and 58 seconds, demonstrating the homegrown pop music of China are at the stage of strong mass appeal.<ref>[https://www.stanforddaily.com/2019/01/07/hua-chenyus-peerless-performances/]</ref><ref>{{Cite journal|url = |title = "Country Roads" to Globalization: Sociological Models for Understanding American Popular Music in China.|last = Rupke|first = N|date = 2009|journal = Journal of Popular Culture|doi = |pmid = |access-date = |last2 = Blank|first2 = G}}</ref> (Rupke & Blank, 2009).  The globalization of popular music impacted other East Asian countries, especially Korea and Japan, and this in turn has influenced developments in China, as "pop-culture excursions between (the) three countries"<ref>{{Cite journal|url = |title = The Pacific Age|last = Tricks|first = H|date = 2014|journal = The Economist|doi = |pmid = |access-date = }}</ref> are deemed significant (Tricks, 2014, p.&nbsp;4).

== Genres ==
{{listen 
 | filename     = Zhou Xuan - Nights of shanghai.ogg
 | title        = Nights of Shanghai (夜上海)
 | description  = A 1940s [[shidaiqu]] [[mandopop]] arrangement by [[Zhou Xuan]].
 | format       = [[Ogg]]
}}
{| border="1" cellpadding="3" cellspacing="0"
|-
! Genre || Subgenres || Ort
|-
| rowspan="4" | Chinese popular music 
| rowspan="1" |Cantonese popular music
| [[Hong Kong]], [[Macau]], [[Guangdong]], [[Malaysia]] 
|-
|Mandarin popular music
| [[China|Mainland China]], [[Taiwan]], [[Singapore]], [[Malaysia]] 
|-
|Minnan popular music
|[[Taiwan]], [[Fujian]], [[Malaysia]]
|}

==Bekannte Künstler==
{{See also|List of C-pop artists}}
Die [[Malaysia|malaysische]] Zeitung ''[[Nanyang Siang Pau]]'' erstellte 1999 eine Liste der Top 100 der einflussreichsten C-Pop-Künstler des 20. Jahrhundert. Die Top 30 der Liste sind: [[Teresa Teng]], [[Zhou Xuan]], [[Yoshiko Ōtaka]], [[Samuel Hui]], [[Bai Guang]], [[Paula Tsui]], [[Alan Tam]], [[Jacky Cheung]], [[Anita Mui]], [[Leslie Cheung]], [[Faye Wong]], [[Liu Wen-cheng]], [[Chyi Yu]], [[Lee Yee]] (李逸), [[Danny Chan]], [[Dave Wong]], [[Su Rui|Julie Su]], [[Roman Tam]], [[Beyond (Band)|Beyond]], [[Eric Moo]], [[Chyi Chin]], [[Yao Su-yong|Yao Surong]] (姚蘇蓉), [[Wu Yingyin]], [[Tsin Ting]], [[Yao Lee]], [[Tsui Ping]], [[Tsai Chin (singer)|Tsai Chin]], [[Lo Ta-yu]] and [[Jonathan Lee (record producer)|Jonathan Lee]].<ref>20世纪最具影响力的100位中文流行歌星http://www.wendangwang.com/doc/fa1768162f50703b09b516cb</ref>


At the end of 2007 [[RTHK]] began promoting a tribute called "Immortal Legends" (不死傳奇) in honor of the singers who died a legend in the industry.  The honor was given to [[Roman Tam]], [[Anita Mui]], [[Teresa Teng]], [[Leslie Cheung]], [[Wong Ka Kui]] (founder of [[Beyond (band)|Beyond]]), and [[Danny Chan]].<ref>RTHK. "[http://www.rthk.org.hk/rthk/program_archive.cgi?progdir=tv/stardust&event_name=%E4%B8%8D%20%E6%AD%BB%20%E5%82%B3%20%E5%A5%87 RTHK immortal legends]." ''RTHK program archive.'' Retrieved on 2007-12-31.</ref>  All six pop stars played a major role in developing the [[Hong Kong]] or [[Taiwan]] music industry.

In 2010, the [[Chinese Music Awards]] recognized the top 30 C-pop artists since 1980. They are, approximately in the order of their birth years: [[Liu Jia-chang]], [[Li Guyi]] (李谷一), [[George Lam]], [[Sam Hui]], [[Paula Tsui]], [[Roman Tam]], [[Alan Tam]], [[Liu Wen-cheng]], [[Su Rui|Julie Su]], [[Teresa Teng]], [[Fong Fei Fei]], [[Jenny Tseng]], [[Lo Ta-yu]], [[Fei Yu-ching]], [[Leslie Cheung]], [[Danny Chan]], [[Chyi Yu]], [[Tsai Chin (singer)|Tsai Chin]], [[Chyi Chin]], [[Anita Mui]], [[Jonathan Lee (record producer)|Jonathan Lee]], [[Jacky Cheung]], [[Cui Jian]], [[Liu Huan]], [[Tat Ming Pair]], [[Beyond (band)|Beyond]], [[Sandy Lam]], [[Faye Wong]], [[Eason Chan]], and [[Jay Chou]].<ref>Chinese Music Awards. [http://www.chinesemusicawards.org/Album/Chinesemusic30/30people/ 華語金曲30年30人] {{Webarchive|url=https://web.archive.org/web/20131114031936/http://www.chinesemusicawards.org/Album/Chinesemusic30/30people/ |date=2013-11-14 }}</ref>

At the end of 2010, [[Vietnam]]'s ''[[:vi:Hoa Học Trò|Hoa Học Trò]] Magazine'' proclaimed a list of the top 5 C-pop [[boybands]] of the [[2000s (decade)|2000s decade]], all are from [[Taiwan]]. They are: [[F4 (band)|F4]], [[183 Club]], 5566, [[Fahrenheit (Taiwanese band)|Fahrenheit]] (Fei Lun Hai), and [[Lollipop F|Lollipop]] (Bang Bang Tang).<ref>{{cite magazine|author=Hằng Moon|date=|title=Nghệ sĩ của thập niên: 5 nhóm nhạc nam C-POP đình đám nhất|trans-title=Artist of the decade: Top 5 C-POP boybands|url=http://dantiengtrung.com/forum/showthread.php?t=22297|language=Vietnamese|magazine=Hoa Học Trò Magazine|volume=875|location=Vietnam|access-date=2016-03-06|quote=Chúng ta chuẩn bị vượt qua cột mốc 2010 và chính thức khép lại thập niên đầu tiên của thế kỉ 21. 10 năm qua, teen Việt đã nhanh nhạy tiếp cận với những cơn sóng âm nhạc đổ bộ dồn dập từ khắp nơi. Bắt đầu với Teenpop cực kì nhí nhảnh đến từ US & UK thông qua kênh âm nhạc MTV, nối tiếp là dòng C-Pop lãng mạn qua các bộ phim "thần tượng" Đài Loan, và giờ là K-Pop trẻ trung đầy hứng khởi - hòa chung trào lưu Hallyu cùng teen khắp châu Á. Chính teen Việt là chất xúc tác mạnh nhất giúp V-Pop thay đổi, hiện đại hơn, chuyên nghiệp và gần gũi hơn với xu hướng âm nhạc chung của thế giới.<br />Hãy cùng H2T chọn lựa ra "Nghệ sĩ của thập niên" (Artists Of The Decade) - Những nhân vật tiêu biểu nhất, những nhóm nhạc đình đám nhất đã và đang có sức ảnh hưởng mạnh mẽ tới đời sống âm nhạc của teen Việt.}}</ref>

==Disputes on traffic artists==
"Traffic artist" is a word in China to refer to an artist with huge "traffic" or following on the internet. They usually include [[Cai Xukun]], [[Lu Han]], [[Lay Zhang]], [[Kris Wu]], [[Huang Zitao]], [[TFBoys]], [[Rocket Girls 101]] and so on. They usually have a dedicated [[fandom]], prodigious traffic on social platforms, and incredible sales. They have been the focus of controversies, including the legitimacy of the social media and sales data and the popularity and quality of their works. An investigation in 2017 by Aiman Data stated that more than 10% of their fans are robots.<ref>{{cite web |title=艾漫数据iINDEX开启娱乐数据的脱水时代 |url=http://news.163.com/17/0628/11/CO10ULGJ00014AEE.html |website=netease}}</ref> An investigation by [[China Central Television]] showed that for a low price fans can be bought.<ref>{{cite web |title=今年的3·15打假，从央视点名"假流量"开始 |url=https://www.jianshu.com/p/acdcd2bb15be}}</ref> The 100 million shares on one of Cai Xukun's posts was proved as fake.<ref>{{cite web |title=蔡徐坤微博1亿转发量推手"星援"被查 半年吸金800万 |url=http://www.xinhuanet.com/fortune/2019-06/11/c_1210155551.htm}}</ref> Their fandom are compared to empires or religious organizations, as some fans would buy more than 10 thousand copies of an album, and rebuke other fans who buy only several copies.<ref>{{cite web |title=每个帝国都有它的秘密——鹿晗的粉丝帝国 |url=http://www.gq.com.cn/magazine/news_18546f75f09c25c7.html}}</ref><ref>{{cite web |title=鹿晗專輯銷量破千萬，力壓周杰倫 |url=https://kknews.cc/entertainment/9xrvbkj.html}}</ref> Xingzhou, a music reviewer, said that Luhan and some traffic artists still lack any persuasive music work.<ref>{{cite web |title=行舟乐评：90后北京小哥鹿晗 被死神怒怼太娘  行舟乐评  关注 |url=https://www.jianshu.com/p/ccfecb736ddb}}</ref> Some complain that in the past, a hit song meant that even if people did not enjoy it, they listened to it, but many "golden songs" are now unknown to the public, despite massive sales. Further, they dispute that traffic artist are destroying the Chinese music. But some also claim that the depression of traditional artists is not the fault of traffic artists, but is because most fans of traditional artists enjoy free or even pirated Internet sources and are unwilling to pay for traditional music.<ref>{{cite web |title=我曾经爱过的华语乐坛！已经死了？ |url=http://kuaibao.qq.com/s/20181206A0QW3100?refer=spider}}</ref><ref>{{cite web |title=音乐市场被偶像绑架，因为只有人设不会被盗版 |url=https://www.pingwest.com/a/137678}}</ref>

In July 2019, a post noted that [[Jay Chou]]'s tickets were difficult to obtain but this was not reflected in his ranking on SuperTalk. SuperTalk is an artist rank by [[Sina Weibo]] based on the activity of artist-related posts, while Cai Xunkun has occupied No. 1 for 54 consecutive weeks. This irritated Chou's fans and caused a competition between fans of Cai and Zhou. Cai is usually regarded as the top of traffic artists while Chou is usually regarded as the top of traditional artists. This competition is sometimes called "defense of Jay Chou", also interpreted as between traffic artists and traditional artists, and became a social topic. Fans of Chou encouraged each other to post, to like, to share for Chou, and many celebrities and official accounts joined it to support Chou. It made Chou jump from No. 300 to No. 1. After that, Cai's fans announced their intention to quit competing for rank on Weibo. ''[[People's Daily]]'' commented that traffic is not equal to popularity.<ref>{{cite web |title=周杰倫保衛戰背後：互聯網流量撐起的新偶像|url=https://www.bbc.com/zhongwen/trad/chinese-news-49114897}}</ref><ref>{{cite web |title=是谁制定了周杰伦蔡徐坤粉丝PK的规则 |url=https://www.pingwest.com/a/191517}}</ref><ref>{{cite web |title=这场周杰伦保卫战，"中老年粉丝团"为什么会胜出？ |url=https://zhuanlan.zhihu.com/p/75002334}}</ref>

== Siehe auch ==
{|
|valign=top|
* [[Cantopop]]
* [[Mandopop]]
* [[Taiwanesischer Pop]]
|valign=top|
* [[China Wind music]]
* [[Gangtai]]
* [[Taiwanese Wave]]
|valign=top|
* [[Chinesische Musik]]
* [[Music of Hong Kong]]
* [[Music of Taiwan]]
|valign=top|
* [[Music of Macau]]
* [[Music of Malaysia]]
* [[Music of Singapore]]
|valign=top|
* [[Chinese television drama]]
* [[Hong Kong television drama]]
* [[Taiwanese drama]]
|}

== Einzelnachweise ==
<references />

== Weblinks ==
* [https://www.youtube.com/channel/UC1v2Nj78SGwYZ2XjDj1Yg_Q Official Pandeh Music (Cpop Music Channel)]

{{Pop music}}

<nowiki>[[Category:C-pop| ]]
[[Category:Chinese popular culture]]
[[Category:Chinese youth culture]]</nowiki>